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Command Authority

  by Tom Clancy & Mark Greaney


(about 780 pages)
194,985
total words
of all the books in our library
35.43%
vividness
of all the books in our library
7.47%
passive voice
of all the books in our library
2.48%
all adverbs
of all the books in our library
0.83%
ly-adverbs
of all the books in our library
1.66%
non-ly-adverbs
of all the books in our library

clippings from this book

We’ve analyzed hundreds of millions of words, from thousands of different authors, training our linguistic models to recognize the most vivid words in the English language… the words that create the most intense sensory experiences: colors, textures, sounds, flavors, and aromas.

Based on our analysis, we’ve scanned through the pages of this book to find the two pages at the extremes, both the most-passive and the most-vivid pages, so that you can compare them side-by-side and see the difference:

MOST PASSIVE PAGE
MOST VIVID PAGE
It’s okay, sport. Been pretty busy at work myself.” The younger Ryan chuckled. “So how’s life?” “It’s fine.” “Living in London is great, right?” Jack Junior could hear the excitement in his dad’s voice, almost as if he was enjoying himself vicariously through his son’s experience, reliving his own time here so long ago. Junior just muttered out an unenergetic “Yeah.” There was a pause. Jack Senior said, “It is great, right?” “I guess I’m still settling in a little.” “Is something wrong? Is there a problem?” “No, Dad. Everything is fine.” Jack Senior paused again. “You know you can talk about anything, right?” “Of course. And I will. It’s all good. Work is just frustrating.” “Okay.” The father left it alone, though he could hear tension in his son’s voice. He asked, “I was wondering if you had time to do me a favor.” Now Jack Junior lightened up. “Name it. It would be good to think about something else for a bit.” “You remember Basil Charleston, don’t you?” “Of course. It’s been a long time. He must be well into his eighties by now.” “And that’s the problem. I have a couple of questions for him, and I would love to talk to him in person, but I have a funny feeling he’s not going to be able to hear me over the phone. The last time I called him it was hit-and-miss.” “Does he still have his place in Belgravia?” “He does.” “I can swing by, it’s even darker than the hallway. He felt around on the wall for a moment, hunting for a light switch, but when he found nothing, he dropped to his knees and reached out in all directions. He put his hand on a wire and followed it to some sort of a lamp lying on its side on the floor, and he flipped a switch on it. It was a blue lava lamp; apparently it had been sitting on a folding TV tray that Marta had used as an end table. The tray lay on its side on the floor next to the lamp. Jack picked up the lamp and used it as a very poor flashlight. He looked around at the smashed furniture and the holes in the wall. He looked at the clothing in the closet and the shattered mirror on a tiny dresser. It was quiet, the only sound the tinkle of precipitation on the plastic and cardboard covering the windows. Jack took in his pale blue surroundings. No one had died in this room; there was no blood on the floor or the walls. But it felt like death, because the young woman who lived in this tiny space had been killed two nights earlier several hundred miles south in Switzerland. Her few personal effects were all that remained of her. There was laundry in a hamper in the corner. A threadbare towel, a pair of blue jeans. A black sweater, and a plain tan bra-and-panty set piled

emotional story arc

Click anywhere on the chart to see the most significant emotional words — both positive & negative — from the corresponding section of the text…
This chart visualizes the the shifting emotional balance for the arc of this story, based on the emotional strength of the words in the prose, using techniques pioneered by the UVM Computational Story Lab. To create this story arc, we divided the complete manuscript text into 50 equal-sized chunks, each with 3899.70 words, and then we scored each section by counting the number of strongly-emotional words, both positive and negative. The bars in the chart move downward whenever there’s conflict and sadness, and they move upward when conflicts are resolved, or when the characters are happy and content. The size of each bar represents the positive or negative word-count of that section.

similar books by different authors

other books by Tom Clancy & Mark Greaney

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